Performance view of Francisca Benitez's Son en Señas, 2015, at La Habana Bienal. Photo Mariella Sola. Courtesy the artist.

A.i.A. editors suggest a few of the myriad events taking place in New York this week: a performance by Francisca Benitez incorporating sign language and deaf performers on the High Line; a talk on Andy Warhol with authors Wayne Koestenbaum and Stephen Koch; a screening of a 1927 ethnographic film introduced by critic Hilton Als; a performance by Heidi Latsky Dance, a company including able-bodied and disabled dancers; "Japan Cuts" film festival highlight Sanchu Uprising with a director's Q&A; and a mixed-media live essay by Evan Calder Williams.

 

Tuesday, July 14, 7 p.m.

Performance: Francisca Benitez on the High Line

Chile-born, New York-based artist Francisca Benitez presents As you lean on me and I lean on you, we move forward, composed of three site-specific performances at locations on the High Line. Like some of her previous work, the piece engages with sign language. She collaborates with performers that include deaf poets and ASL jammers for this event, which explores architectural, cultural and linguistic boundaries, as well as ideas of marginality. Additional performances take place Wednesday, July 15 and Friday, July 17, at 7 p.m.

The High Line, starting at the West 14th Street entrance between 9th and 10th Avenues

 

Wednesday, July 15, 7 p.m.

Talk: "On Andy Warhol" with Wayne Koestenbaum and Stephen Koch

Wayne Koestenbaum—poet, critic and author of an idiosyncratic, psychoanalytic biography of Andy Warhol—joins Stephen Koch, who penned the 1991 book Stargazer: The Life, World and Films of Andy Warhol (Open Road Media), to discuss the life and work of the infamous artist.

McNally Jackson Books, 52 Prince Street

 

Thursday, July 16, 7:30 p.m.

Screening: Hilton Als presents Voyage au Congo

Author and New Yorker critic Hilton Als introduces a rare screening of André Gide and Marc Allégret's 1927 ethnographic film made in the Belgian Congo, an uncomfortable yet nonetheless powerful document of the French colonial project. At the time Voyage au Congo was made, Gide and Allégret were a romantic couple, and had no training except for a brief technical lesson from Man Ray. The film's artistry is impressive yet the treatment of its subjects is naively romantic and distanced. Often shot with a telephoto lens, the film obscures the impoverished and inhuman conditions Gide noted in his journals, as well as the sexual interactions the filmmakers had with African men and women over the course of their travels.

Light Industry, 155 Freeman Street, Brooklyn

 

Friday, July 17, 8 p.m.

Screening and performance: Heidi Latsky Dance's Somewhere and Soliloquy

To celebrate the 25th anniversary of the Americans with Disabilities Act, Heidi Latsky Dance, a company that includes dancers both with and without disabilities, presents a screening of Somewhere (2015) and a live performance of Soliloquy (2013) followed by a Q&A with Latsky and her company members. This program is a part of a month-long series of events by Heidi Latsky Dance across the five boroughs, made possible by the Mayor's Office for People with Disabilities. The final two performances are scheduled for July 25, at Lincoln Center's Josie Robertson Plaza at 3:30 p.m. and at Brooklyn Bridge Park Pier 1 at 7 p.m.

The Whitney Museum, 99 Gansevoort Street

 

Sunday, July 19, 6 p.m.

Screening and Q&A: Sanchu Uprising: Voices at Dawn

Influenced by politicized period films of the '60s and '70s Japanese New Wave, Juichiro Yamasaki's sophomore feature depicts a class struggle between feudal farmers and samurai bureaucrats set in 1726 Sanchu, Okyama, based on a tax rebellion in the area during the Edo period. This screening marks the film's international premiere and the closing of Japan Society's "Japan Cuts" film festival, featuring highlights of contemporary Japanese cinema. Yamasaki, the director, introduces the film and sits for a post-screening Q&A.

Japan Society, 333 East 47th Street

 

Tuesday, July 21, 8 p.m.

Performance: Evan Calder Williams's T-1

Artist Evan Calder Williams meditates on colonial and geographic narratives. His new live essay is named after T-1, an Arctic island formerly classified as top secret by the U.S. Air Force. Williams's work, which includes video footage shot in a dollhouse and stories of a ghost ship populated with cannibal rats, uses mixed-media techniques to explore the liminal space between history and speculation. This is Williams's first presentation as part of his ISSUE Project Room residency.

Artists Space Books and Talks, 55 Walker Street